Piano Concerto No. 5 (Prokofiev)

Background

Prokofiev's last piano concerto dates from 1932, a year after he finished the fourth piano concerto, whose solo part is for left hand only. According to the composer, he was then inspired to write another for two hands, whose intended simplicity was reflected in the desire to call it, not a concerto, but rather 'Music for Piano and Orchestra.' However, as the piece grew in complexity, Prokofiev decided to include it among his numbered concerti instead. It is in five short movements. The longest, a Larghetto, is around seven minutes in length. The remaining four movements are all in a fast tempo and feature virtuoso keyboard writing; the third movement, only around two minutes long, functions as a variation on the first.

Piano Concerto No. 5 (Saint-Saëns)

The Piano Concerto No. 5 in F major, Op. 103, popularly known as The Egyptian, was Camille Saint-Saëns' last piano concerto. He wrote it in 1896, 20 years after his Fourth Piano Concerto, to play himself at his own Jubilee Concert on May 6 of that year. This concert celebrated the fiftieth anniversary of his début at the Salle Pleyel in 1846.

This concerto is nicknamed "The Egyptian" for two reasons. Firstly, Saint-Saëns composed it in the temple town of Luxor while on one of his frequent winter vacations to Egypt, and secondly, the music is among his most exotic, displaying influences from Javanese and Spanish as well as Middle-eastern music. Saint-Saëns said that the piece represented a sea voyage.

Saint-Saëns himself was the soloist at the première, which was a popular and critical success.

Structure and overview

The Allegro animato alternates several times between two contrasting themes. It begins warmly, introducing a simple subject on the piano, which is imbued at each new variation with increasing energy by a brilliant and technically challenging piano part featuring runs up and down the keyboard. This dissolves into a much slower, more melancholic subject, recalling that of the Andante sostenuto movement of Saint-Saëns' second piano concerto. Like waves, the two lead into one another until finally the second theme gives way to a gentle coda.

No. 5

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